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Lot 66
STAMPS : BRITISH COMMONWEALTH, box with U/M & used sets and singles on over 800 stock cards, with the majority being identified with SG numbers. Includes some useful Canada, Gibraltar, Grenada, Malaysia, Cayman Is, Bermuda, British Solomon Islands etc. Plenty of thematic interest. Ideal for Ebay or fairs with lots of useful items (1000s)
Lot 612
STAMPS TRISTAN DA CUNHA 1952 to 2011 U/M & used collection neatly displayed in four albums. Includes 1952 George VI set both U/M and fine used, all the early QEII sets are complete both U/M & fine used, there are also plenty of thematic sets, miniature sheets etc. A wonderful, clean collection. Cat £4090+
Lot 115
§ Roy De Maistre C.B.E. (Australian / British 1894-1968) Two Figures oil on board Dimensions:41cm x 33cm (16 1/8in x 13in) Provenance:ProvenanceCelia Broadbent (neé Keogh) and by direct descent to the present owner.LiteratureJohnson, Heather, Roy De Maistre: The English Years 1930-1968, Sydney: Craftsman House, 1995, p.27, plate 7, illustrated. Note: Celia Broadbent was de Maistre’s cousin once removed, and his executor and friend; her older sister, Camilla Margery Keogh, was the subject of ‘La Folie', considered one of de Maistre’s major works Roy de Maistre: ‘Fellas doing things to Fellas’Described as ‘the man who taught Francis Bacon to paint’ (Ronald Alley interviewed by Heather Johnson 1988), Roy de Maistre moved from his native Australia to London in 1930, where he lived for the rest of his life. He had trained at Sydney Art School and the Royal Art Society, had spent two years travelling in Europe between 1923 and 1925 and had had two solo exhibitions, at the Macquarie Galleries in Sydney in 1926 and 1928. Despite this successful start to his career, de Maistre looked to London for a more progressive art world into which he was immediately admitted. In his first year in the English capital, de Maistre had a solo show at the Beaux Arts Gallery and a joint exhibition of paintings and furniture with Francis Bacon, held in the latter’s studio at 7 Queensberry Mews.De Maistre’s friendship with Bacon was closest in the early 1930s, though they remained in contact until the former’s death in 1968. There is some debate as to whether they had studios in the same buildings but on different floors, but what is certain is de Maistre’s fascination with Bacon’s working spaces, which he painted on several occasions. As de Maistre’s biographer, Heather Johnson, has declared ‘the main importance of the association between de Maistre and Bacon is the influence on their respective work…in the early 1930s de Maistre had just as great or greater influence on Bacon.’ (Heather Johnson, Roy de Maistre: The English Years 1930-1968, Craftsman House, Roseville East, 1995, p.22).The 1930s were a particularly fertile period in de Maistre’s career; his work featured in cutting-edge publications, such as Herbert Read’s 1933 Art Now and in group exhibitions including at the Zwemmer Gallery and Leicester Galleries. He had solo exhibitions at the avant-garde Mayor Gallery in 1934 and at the Calmann Gallery four years later. In 1934 he established the School of Contemporary Painting and Drawing with Martin Bloch, with its stated aim acting as a manifesto for his own work, namely ‘to help the pupils to give expression to their enjoyment of the beauty and significance of things seen and experienced; to understand and appreciate the materials they use and to recognise the logic of the laws of colour and composition’ (see Johnson, op.cit., p.82).Two Figures dates from this important period. Johnson explained that in this painting, compared with other contemporary works, ‘de Maistre has…concentrated on a sensitive and intellectual rapport between the figures rather than a purely sexual one, the blending of the figures and their closeness is much more successful’ (Johnson, ibid., p.28). Two Figures is all the more significant given de Maistre’s instructions to his Executors that, following his death, ‘a large body of work, described as ‘fellas doing things to fellas’ be destroyed (see Johnson, ibid., p. 28). The two men are seen unclothed, caught in a moment of intimate relaxation – both have their eyes closed and are viewed in profile. Bold black outlining provides the structure of a pictorial design based on shallow depth, whilst a harmonious palette, direct technique and frank appreciation of the male form create an image which is at once sensual and bold.In contrast, Crucifixion of 1945, whilst based on earlier notes and studies, was painted in response to the dropping of the first atomic bomb, on Hiroshima on 6 August of that year. By this point in his career, de Maistre was becoming known as a modernist religious painter, not least with the acquisition in 1944 of a work of the same Biblical scene to Iona Abbey. De Maistre formally converted to the Roman Catholic faith in 1951. The 1940s saw him receive solo exhibitions in Leeds and Birmingham and culminated in one at Adams Gallery, London in 1950.The influence of Bacon’s working methods can arguably be detected in Man and Tree of 1959. Johnson posits that Bacon’s use of Portrait of Innocent X by Diego Velázquez in a series of works started in 1951, may have encouraged de Maistre to look to past masters for inspiration. Indeed, she established that Man and Tree is based on a work by Henri Matisse, reproduced in an article about Fauvism in the December 1934 issue of the D’Aci I D’Alla magazine, of which de Maistre owned a copy. (M. A. Cassanyes, ‘Fauvisme’, D’Aci D’Alla, no.179, vol. XXII, December 1934 see Johnson, ibid., pp.163 and 165). This work dates from the period during which de Maistre was preparing his retrospective exhibition at the Whitechapel Gallery, London, which opened in May 1960.All three of the works by de Maistre presented here formerly belonged to Celia Broadbent (née Keogh). She was a daughter of the artist’s cousin, Camilla Keogh (1866-1948) who was one of his most significant patrons and muses. Celia went on to support de Maistre herself, not least in asking him to design tapestry versions of some of his paintings, which she then stitched (see Johnson, ibid., p. 112).As de Maistre’s patron, Rab Butler, proclaimed: ‘His most impressive quality as an artist was his absolute integrity. He went through long periods of difficulty in earning his living from painting because he refused to conform to any standards other than those which he had rigorously laid down for himself.’ (quoted in Johnson, ibid. p.55)
Lot 113
§ Roy De Maistre C.B.E. (Australian / British 1894-1968) Crucifixion, 1945 signed (lower right), oil on canvas Dimensions:25cm x 20.5cm (9 7/8in x 8in) Provenance:ProvenanceCelia Broadbent (neé Keogh) and by direct descent to the present owner.Celia Broadbent was de Maistre’s cousin once removed, and his executor and friend; her older sister, Camilla Margery Keogh, was the subject of ‘La Folie', considered one of de Maistre’s major works. Note: with label signed and inscribed THIS CRUCIFIXION, painted from notes and studies made at St. Jean-de-Luz in 1932 was begun on the day after the first atomic bomb was dropped on Hiroshima - painted in Sorrow for the innocent victims and in condemnation of those politicians who perpetrated this appalling act of mass murder in defiance of Christian love and compassion. / 13 Eccleston Street, London, 1945. (to reverse) Roy de Maistre: ‘Fellas doing things to Fellas’Described as ‘the man who taught Francis Bacon to paint’ (Ronald Alley interviewed by Heather Johnson 1988), Roy de Maistre moved from his native Australia to London in 1930, where he lived for the rest of his life. He had trained at Sydney Art School and the Royal Art Society, had spent two years travelling in Europe between 1923 and 1925 and had had two solo exhibitions, at the Macquarie Galleries in Sydney in 1926 and 1928. Despite this successful start to his career, de Maistre looked to London for a more progressive art world into which he was immediately admitted. In his first year in the English capital, de Maistre had a solo show at the Beaux Arts Gallery and a joint exhibition of paintings and furniture with Francis Bacon, held in the latter’s studio at 7 Queensberry Mews.De Maistre’s friendship with Bacon was closest in the early 1930s, though they remained in contact until the former’s death in 1968. There is some debate as to whether they had studios in the same buildings but on different floors, but what is certain is de Maistre’s fascination with Bacon’s working spaces, which he painted on several occasions. As de Maistre’s biographer, Heather Johnson, has declared ‘the main importance of the association between de Maistre and Bacon is the influence on their respective work…in the early 1930s de Maistre had just as great or greater influence on Bacon.’ (Heather Johnson, Roy de Maistre: The English Years 1930-1968, Craftsman House, Roseville East, 1995, p.22).The 1930s were a particularly fertile period in de Maistre’s career; his work featured in cutting-edge publications, such as Herbert Read’s 1933 Art Now and in group exhibitions including at the Zwemmer Gallery and Leicester Galleries. He had solo exhibitions at the avant-garde Mayor Gallery in 1934 and at the Calmann Gallery four years later. In 1934 he established the School of Contemporary Painting and Drawing with Martin Bloch, with its stated aim acting as a manifesto for his own work, namely ‘to help the pupils to give expression to their enjoyment of the beauty and significance of things seen and experienced; to understand and appreciate the materials they use and to recognise the logic of the laws of colour and composition’ (see Johnson, op.cit., p.82).Two Figures dates from this important period. Johnson explained that in this painting, compared with other contemporary works, ‘de Maistre has…concentrated on a sensitive and intellectual rapport between the figures rather than a purely sexual one, the blending of the figures and their closeness is much more successful’ (Johnson, ibid., p.28). Two Figures is all the more significant given de Maistre’s instructions to his Executors that, following his death, ‘a large body of work, described as ‘fellas doing things to fellas’ be destroyed (see Johnson, ibid., p. 28). The two men are seen unclothed, caught in a moment of intimate relaxation – both have their eyes closed and are viewed in profile. Bold black outlining provides the structure of a pictorial design based on shallow depth, whilst a harmonious palette, direct technique and frank appreciation of the male form create an image which is at once sensual and bold.In contrast, Crucifixion of 1945, whilst based on earlier notes and studies, was painted in response to the dropping of the first atomic bomb, on Hiroshima on 6 August of that year. By this point in his career, de Maistre was becoming known as a modernist religious painter, not least with the acquisition in 1944 of a work of the same Biblical scene to Iona Abbey. De Maistre formally converted to the Roman Catholic faith in 1951. The 1940s saw him receive solo exhibitions in Leeds and Birmingham and culminated in one at Adams Gallery, London in 1950.The influence of Bacon’s working methods can arguably be detected in Man and Tree of 1959. Johnson posits that Bacon’s use of Portrait of Innocent X by Diego Velázquez in a series of works started in 1951, may have encouraged de Maistre to look to past masters for inspiration. Indeed, she established that Man and Tree is based on a work by Henri Matisse, reproduced in an article about Fauvism in the December 1934 issue of the D’Aci I D’Alla magazine, of which de Maistre owned a copy. (M. A. Cassanyes, ‘Fauvisme’, D’Aci D’Alla, no.179, vol. XXII, December 1934 see Johnson, ibid., pp.163 and 165). This work dates from the period during which de Maistre was preparing his retrospective exhibition at the Whitechapel Gallery, London, which opened in May 1960.All three of the works by de Maistre presented here formerly belonged to Celia Broadbent (née Keogh). She was a daughter of the artist’s cousin, Camilla Keogh (1866-1948) who was one of his most significant patrons and muses. Celia went on to support de Maistre herself, not least in asking him to design tapestry versions of some of his paintings, which she then stitched (see Johnson, ibid., p. 112).As de Maistre’s patron, Rab Butler, proclaimed: ‘His most impressive quality as an artist was his absolute integrity. He went through long periods of difficulty in earning his living from painting because he refused to conform to any standards other than those which he had rigorously laid down for himself.’ (quoted in Johnson, ibid. p.55)
Lot 1277
A 14ct gold opal and diamond jewellery set, comprising ring and pair of stud earrings, set with oval cabochon opals and modern round brilliant-cut diamonds, ring setting height 8.1mm, size M, earrings 8.6mm, 3.4g total (2)No damage or repair, all stones present, opals have a good play of colour with mostly greens and blues
Lot 1629
A heavy pair of George V silver tumbler beakers, Edward Barnard & Sons Ltd, London 1925, retailed by Payne of Oxford, plain tapered cylindrical form with rounded bases, diameter 8cm, height 7cm, 13oz totalEach has engraved initials H and M, M example has 1 tiny dent on base otherwise no damage, both very heavy gauge, hallmarks clear and matching
Lot 1407
A Victorian silver 'Ye spider and ye flie' nursery rhyme photo locket pendant, maker H&M, circa 1880, centrally applied with spider and fly above an engraved spider web ground within lobed bead edge frame, 57.7mm, 20.2gSome remnants of tape adhesive on both sides, spider lacking 1 leg, hinge working perfectly, mark on back slightly rubbed
Lot 1108
An impressive 18ct gold aquamarine cocktail ring, set with 39ct emerald step-cut aquamarine, weight calculated from dimensions: 21.86 x 18.40 x 13.31mm, size M, 14.4gAquamarine is a bright medium blue with only a few very light surface abrasions on facet edges and nicks to girdle, back of shank has a small join section and is coarsely filed inside, mark clear, stamped 18ct
Lot 1371
A Victorian three stone garnet and split pearl dress ring, unmarked gold pierced foliate settings, setting height 6.8mm, size M, 1g (shank cut)Shoulder is cut and needs re-soldering, back of shank has an obvious join mark is wearing very thin, ring is slightly off-round, all stones present, unmarked
Lot 1342
A 1.10ct solitaire diamond ring, centrally prong set with modern round brilliant-cut diamond flanked by tapered baguette-cut diamond shoulders within unmarked gold setting, principal diamond weight calculated from dimensions: 6.60 x 4.15mm, colour approx L/M, clarity approx SI2/SI3, size L, 3gNo damage or repair, all stones present, principal diamond is bright and fiery with an obvious brownish yellow tint, 1 central internal feather and 2 small surface reaching fractures, settings lightly worn on back of shank, unmarked
Lot 1332
A modern platinum three stone 1ct cognac diamond ring, maker AVS, London 2021, centrally claw set with a 1ct modified square-cut cognac diamond flanked by tapered baguette diamonds, size M, 3.7gNo damage or repair, all stones present, diamonds are bright and fiery, hallmarks clear, laser engraved 950
Lot 1170
An 18ct gold cubic zirconia and diamond band ring, set with marquise-cut cubic zirconia flanked by modern round brilliant and baguette-cut diamond shoulders, total diamond content approx 1ct, CZ measures approx: 10.05 x 5.10 x 3.00mm, size M, 12.8gNo damage or repair, all stones present, diamonds bright and fiery, settings still heavy gauge, mark clear, stamped 18k
Lot 1168
An 18ct rose gold 1.66ct solitaire light champagne diamond ring, clarity approx SI1/SI2, diamond within white and yellow gold bezel setting with brushed rose gold shank, diamond measures: 7.39-7.47 x 4.63mm, size M, 8.5g, with Gemstone Valuation Services diamond grading certificate dated 2000No damage or repair, diamond very bright and fiery with only 1 visible internal feather beneath the surface of a kite facet, settings nicely brushed, mark clear, engraved 750
Lot 1140
A platinum five stone sapphire and diamond ring, prong set with 1.6ct rectangular step-cut sapphire flanked by graduated bezel set baguette-cut diamonds, total diamond content approx 0.75ct, London 2022, size M, 5.8gNo damage or repair, all stones present, sapphire is a very dark blue with 2 tiny corner nicks, diamonds bright and white with no obvious inclusions, hallmarks slightly faded, laser engraved 950
Lot 1182
A Georgian 9ct rose gold garnet and pearl cluster memorial ring, circa 1820, the central foil-backed oval mixed-cut garnet surrounded by row of split pearls, in closed-back settings with original initial inscription AG, setting height 12.6mm, size M, 4.1gRing has probably been re-purposed from a brooch with an added rink shank as there are solder marks on both shoulders, garnet has several heavy surface abrasions, all pearls are yellow with a few layers of nacre missing, at least 2 replacements, inscription on backing is worn, mark on shank clear, stamped 9ct
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375892 item(s)/page